On 01-02-2018 06:47,
wrote:
I've scrolled down to threads started in July 2015 and had no results searching for C1000S
Scrolled, even if google are a bit shy about the existence of google
groups, basically a rip-off of usenet, but useful anyway, then they
still exist. Entering via the front door and searching yields this:
https://groups.google.com/forum/#!se...0s%7Csort:date
This here silly daily thinks it must break also link-lines, so you'll
have to fix that yourself.
By "stung by a wasp" you mean uneven response in some frequency range or...?
The C1000S sounds very much like a condenser microphone. Also it is
quite blast sensitive and should never be used without a wind screen.
From tests in a room which natural reverberation I like, I find that the
trumpet bell has to stay close to the C1000S head, 3-4 cm, in order
to capture
the same "fat" sound I hear in the room (by "fat" I mean with good presence
of mid-low frequencies).
Look carefully at microphone specs, it is not always a good concept to
use a condenser microphone on brass. Some old measurements, I don't know
where the tiny green piece of paper is they were written on in the
1970'ties by a guy who had borrowed the brand new B&K peak hold meter on
the day job:
Trombone, operated by amateur, at 1 meter: 142 dB SPL PEAK HOLD
Saxophone, baritone assumed (Karsten Vogel was the player) at players
ear during a recording session: 135 dB SPL PEAK HOLD.
This means that if you want to put anything condensermicrophone on the
bell of a brass instrument and you do NOT want it to clip its internal
FET said anything should be able to handle 150 dB SPL. That also applies
for anything you put up as drumkit overhead. No, you won't hear
condensers there clip, but the transient from the drumstick hitting the
cymbal will be missing.
So when Scott suggests RE20 - I'd suggest MD421 or MD211 - that is for
three reasons: they don't clip, they gently compress and they do not
output troublesome ultrahigh frequencies that stress the mixer inputs
preamp, be it from clipping or from the cymbals.
Alternatively, without exploiting proximity, the mic can stay 20-30 cm away,
but then I need to also record the sound from far away in the room, *not*
pointing the mic to the trumpet, instead to the ceiling for instance
(tests needed), in order to get that "fat" portion of the sound
(a P170 is not too bad for that, although it gave me a very low hum noise
that I don't get with the C1000S, not difficult to "notch down" anyway).
Yes, close and less close microphone setup is a good idea if recording a
concert hall type instrument in a living room, put the stereo verb on
the distant stereo pair (!).
By only EQing the C1000S I didn't get to an equally good result.
Sorry, there is no way of saying this that does not come across as
arrogant and blunt combined: if you want to make good recordings use
good microphones. I'll take my first version chinese SC1's - came as
ADK's as well as sE's, mine are ADK - anytime over C1000S, they have
some weird notches in frequency response but actually sound open with a
sensible "421-like" upper range rise, works very well on jazz drumkit,
good on piano and are quite usable on singing wimmen of the classical
kind for oratorio recording. The were the stop-gap solution when I upped
my recording channel count, but good enough to keep after being replaced
by something else.
Mixing the two tracks is not too critical as the take from far away lacks
"detail", but it might a good precaution to realign the timing of the two
tracks to avoid phase distortion, e.g. by delaying the take of the
closest
mic, an impulsive noise at the beginning of the take can be useful.
No, that is not the trick with the "close + far setup". The trick is to
delay the mic that is 5 feet away "a wee bit" (some milliseconds, no, it
can not be specified as a "textbook example", there are too many
variables) and add reverb.
(BTW recording _only_ from far away lacks detail to my taste.
That is why I say you need better mics. I don't know what will work for
you, but uppermost on my mic wishlist right now is a pair of Neumann
TLM102's. Anyway, this is recorded from fairly far away as it is a
concert recording - no, not neumann - no lack of detail, youtube
encoding permitting, to me:
https://www.youtube.com/watch?v=dJa8eDuGPcg
Sennheiser have added a large membrane mic to their repertoire, it too
may be well worth listening to, their stuff has changed in a musical way
after they purchased Neumann lock, stock, barrel and desktop design
drawer ... O;-) ... the 80x0 series certainly sounds neumanesque to me.
Also, bounces in the room can be very critical and give nasty results,
with the trumpet more than with most other instruments IMO.)
If you generate any sound for recording in any smallish room, do so
along a diagonal so that you avoid a slap back.
Kind regards
Peter Larsen